Journalism and the price of progress

This is a guest blog by Judy Wieder, former editor-in-chief of The Advocate, the first woman to hold that position; and author of the memoir Random Events Tend To Cluster, a look at her life in the tumultuous years of fighting for human – and animal – rights. 
Research for Random Events Tend To Cluster

Necessity truly is the mother of invention. This includes the biggest invention of the millennium: the World Wide Web.  Slowly revealing itself as a miracle of communication—though one that’s hell-bent on replacing all other communications—the miraculous WWW has many sides, some bright as the sun, others murky as the night.

Officially established in the late 80s, by the early 2000s, a series of global catastrophes (natural and man-made) thrust the web into our lives like a speeding ambulance. Whether using its communication tools to find people lost amid the rubble of deadly terrorist attacks, or buried under the boulders of sudden earthquakes, or stranded on their rooftops after hurricanes, or swirling in the aftermath of  tsunamis—our need to locate and rescue each other made the Internet an information hub of unsurpassed  proportions.

Then the internet began speeding up the news coverage. The minute something happened anywhere, people knew about it everywhere. But is that always good? Something got lost in the immediacy of absolutely everything. And that something was our understanding.

Excerpt from chapter 10 of Random Events Tend To Cluster:

“Thankfully, amid Hurricane Katrina’s worst screw-ups in the history of emergencies, some agencies and individuals respond heroically. The Coast Guard rescues 34,000 stranded survivors. The Humane Society and other animal groups save more than 15,000 animals left behind by evacuees who thought they’d only be gone for a day.

From the ashes of government failures, new technologies for better crisis response are created. Emergency websites, maps, blogs, chat rooms, and help lines are posted and updated—all creating one online disaster community that will soon facilitate the rescue of so many people buried in 2010’s Haiti and 2015’s Nepal earthquakes; as well as those caught in 2017’s Hurricanes, Harvey and Maria.

As tech becomes the story of the new millennium, for me it becomes a good door through which I can leave my work of nearly 15 years. An LGBT Internet company buys our parent company. As with most online media, the “editorial wall” standing between content and advertising, blows over completely. Everywhere I look this once paramount wall is replaced by some mercurial gibberish ushered in by computers, the Internet, cellphones, tablets, and social media. The “highway of information,” as the Internet was once called, is now a shifty piece of work snapping up sound bites of things that have already taken place. For a nanosecond, we think we know something; we even pass it along to others who are grateful because now they think they know something. But, really, we’re all just echoes. What does it mean if we don’t understand it? And how can we understand it without context, backstory, investigation, questioning, and real analysis by professionals who know something to begin with and are willing to study to find out more? Without the connections that surround each breaking-news event, awareness goes on a very undernourished saga. Uncontextualized content is a moody, excitable thing that will leave us all anxious and starving.

Privately, I continue wondering how long we journalists are going to be okay with our content fighting for air amid a playground of advertising and product placement. Without authentic anything, who is going to be our Holden Caulfield (Catcher in the Rye) who grabs the media before it plunges way past mediocracy and crashes hard into clear evidence of a society in the toilet.”

Excerpt (c)  Random Events Tend To Cluster

Published by Lisa Hagan Books, 2017 www.lisahaganbooks.com

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#writering: #LGBT icon on Hollywood

Judy Wieder is the author of Random Events Tend to Cluster, Lisa Hagan Books, 2017, her memoir of life at the forefront of the LGBT equal rights movement. This article first appeared on her blog, Intuitionsmedia.com.

Calling them “monsters” is too easy

By Judy Wieder

What’s wrong with making these people monsters?

Harvey Weinstein is the earthquake under the volcano. Bullying women (or anyone) into giving favors—sexual or otherwise—has been going on since the Greeks and Romans—maybe even the cavemen. In this decade alone, alleged sexual predators facing law suits include Bill Cosby, Roger Ailes, Woody Allen, Bill O’Reilly, Casey Affleck, and the president of the United States.

Though it goes on everywhere, politics and the entertainment business in particular are so jacked-up with this conduct, it’s considered part of the landscape, part of the power, perks and payoffs. What, then, triggered this sudden resistance and potential reset?  If we stay with the metaphor, volcanos erupt when nearby earthquakes destabilize the the area; and earthquakes happen when the pressure building below the earth’s surface can no longer be contained. In other words, the victims said, “Enough!”

Like the proverbial candle in the dark, passed around to light thousands of other candles, when a handful of irate women hit their tipping point and tipped—the spark ignited. I believe at least half the energy blasting up the Weinstein Volcano was amassed over the last 10 months while women waited, stunned and seething, as absolutely nothing happened to Donald Trump after his “Grab them by the pussy/No one respects women more than I do,” psychotic break.

It was time. One thing or another was going to shatter the spell America’s been under since the election, and Harvey pulled the shit card! The mass awakening of the previously silent majority (“me too”), is the long-overdue opening we’ve been hoping for. It’s hard to be an abuser without a victim. And its hard to be a victim when you’re being heard! Speaking out can wipe out both the victim and the abuser in one powerful voice: the abuser loses control, and the victim gains it.

I too have traded my dignity for the wrong perks and carried that regret around for years— just read chapter three of my book (Random Events Tend To Cluster). It took me a very long time to tell myself, let alone others. But, despite the present and heartening roar of the betrayed, I see a very seductive trap we could easily fall into: That ol’ black and white, good and evil, simplification of “the problem.” This month, most of our successful news and entertainment media (you know, the “fake news”), have featured Harvey Weinstein in deliberately distorted photographs. This, of course, is a form of editorializing, clearly executed to make him look like a monster, not a human being. (And believe me, I have no sympathy for this man. That  is not my point. Neither is obstructing Freedom of the Press. Whether subtle or blatant, facts and opinions are all we have to help us navigate our world today. But we, alone, must sort out what is true by dragging it all through our own “shit-detectors.”)

I believe it’s far too easy to take a criminal like Weinstein and portray him as a monster, the “other,” something not human. What do we gain by doing that? Maybe that makes us feel better? Safer? “We could never be him. He’s a monster. Not human like us.”

Unfortunately he is human. Just like the Nazis were/are human beings. Trying to put them in a subhuman category will never allow us to understand them or their actions; thus guaranteeing a rerun. If we never know what drove an entire nation—in the middle of the “sophisticated” 20th century—to try to solve their economic problems by destroying millions of their fellow Europeans, especially the ones they saw as different from themselves—what’s to stop a sequel? Certainly not the terrified deniers. All those “good Germans” who stood around and said nothing were as bad as the Nazis; the entire holocaust could not have happened without them. And yet, they too were just other people. Not treacherous creatures we’ll never meet again. Without enlightenment about the past and present, these easily repeatable catastrophes await us tomorrow. The signs are everywhere.

When we hide any tragedy (sexual harassment, genocide, hate crimes, mass shootings) behind “they were monsters, villains, crazy terrorists, the axis of evil”—then they’ll be back. They’ll be back because we don’t know what happened in the first place. If we label a powerful mogul a “Monster,”  that person can hurt us. But if we let ourselves see someone—anyone—as human, everything changes. Information is available. Education is possible—not just for criminals, but for victims. And knowledge is power.  All the “monster” power we assign these people, can dissolve. Without fear, there is clarity: “Ohh, he’s just a jerk?? I thought he had something I needed, so I gave up my control; I handed him my power.”

Monsters are for Halloween. Damaged people are year round. I’ve always heard the first step to solving a problem is correctly identifying it. Deep breaths.

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#writering: shattered ceilings

Above: Judy Wieder, author of Random Events Tend to Cluster, and 5-year-old Janet Jackson.

What a life. Judy Wieder is the unicorn; a smasher of ceilings every which way. She was the first female editor of The Advocate, the oldest LGBT publication in America, where she published talent such as Ellen Degeneres and Melissa Ethridge.

In a world of no women, she wrote pop songs and hit number one. She was so talented, she was soon working for Motown. Can you imagine, female AND white at the hit factory in Detroit? Did she and her colleagues understand they worked in a place that – like Sun and Abbey Road studios – would become a monument to music? Something big was happening there and the air had to be charged with rock and roll energy. Let’s do an interview with Judy and see what it was like…….

The title – Random Events Tend to Cluster – is the perfect way to sum up a life. In Judy’s case, her life does not seem so random. Far from it. Each step has been towards the right to be an individual, to be equal, respected and free. She marched through one of the wildest times in 20th century America – the 60s, 70s and 80s – and came out the other side. She helped shape the world of women’s rights and the LGBTQ community in more ways than we can ever know.

Thank you, Judy. We owe you a lot.

Beth Wareham is the editor-in-chief of Lisa Hagan Books, a writer and editor based in New York City.

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Fear and Camping

SUMMER READING:

GET YOUR FLASHLIGHT AND HIT THE WOODS

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/bethwareham

What is it about a flashlight and a book? Sure, there is an element – no matter what your age – that your mom is going to bust in and tell you to go to sleep. But something runs deeper with a tiny pool of light and the endless black woods. Talk about existential threat. Your lizard brain is jumping and when you read a scary book out there in the void, each word is scarier than the last.

If you’ve spent time in Maine, you understand how Stephen King got his scary. Those woods are dark. Just walking from car to house must be navigated by starlight. It’s that black. I was an impressionable age when I read Salem’s Lot, 17, and in the wilds of Mexico. In the book (as well as in the primary work), vampires knock on a window in the dark night to gain entrance and suck necks. A Mexican waiter rapped on mine and I became so frightened, I cried.

In the werewolf corner, I am haunted by Sharp Teeth. I read it in manuscript and loved it. My opinion hasn’t changed. Werewolves run wild in Los Angeles, ensnaring a dogcatcher who falls for an outlier werewolf-ess. And did I tell you it’s written in blank verse?  If you’re rolling your eyes, it’s not for you. But if you like unusual, jump!  Harper Collins ended up publishing the book, for which I am grateful.

Dean Koontz, H.P. Lovecraft, and this gentleman will put all sorts of frightening ideas in your head with just a few suggestive words.  Invest in an anthology of the last two and pack it with your sleeping bag each summer. There is that much scary material to make the investment worth it.  Throw in The Turn of the Screw, Henry James’ big attempt at creepy and he succeeded. A novella – thank goodness because that Henry do go on! – this can be read in an hour.

Last, but not least, have you ever noticed that UFOs usually land in fields, woods or desert? Disc-shaped craft never come down on the Met Life building or the 101.  It’s because aliens know it’s even scarier when they land in unpopulated unlit places and frighten campers. The scariest UFO books I’ve read? 365 Days of UFOs is an historical accounting of landings, sightings, controversies, experiments, monster tracking, and coverups – one for each day of the year. Many happen in the fields and forests of Europe and middle America or the grit of the Southwest.  Roswell, a book by Nick Redfern, author of the 365 book above, is scary in a different way. It lays out a damning case against a government conspiracy that promoted little green men in a  misdirection campaign away from secret experiments at the end of WWII.  Roswell may be the scariest when you contemplate what other programs our government has hidden.

Being scared is fun and a big black wall of woods pierced by flashlight sets a fine mood. Here are more lists of favorite scary book from Men’s Journal , Flavorwire and Paste.

Enjoy the summer, share your scary book #recs with us, and don’t forget your mosquito spray.

Great camping gear: REI  amazon.com L.L. Bean

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Q&A With UFO Researcher Nick Redfern

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or Nick Redfern’s World of Whatever 

UFOs.jpg

(Look carefully at the photo above. Can you spot our visitors from another world?)

Q) Do you have favorite “days” in the 365 UFO book?

A)  On the night of October 25, 1973, there was a very weird Bigfoot-UFO encounter in Fayette County, Pennsylvania. The weirder side of the Bigfoot phenomenon interests me a lot. Also, the crop circle phenomenon is one that interests me a great deal, too. There are 4 or 5 such cases in the book of crop circles.

Q) Are there stories and reports that just keep drawing you back in?

A) Yeah, I would say the Men in Black-type cases. That whole phenomenon (MIB, Women in Black, Shadow People, etc) is my favorite to investigate and write about. I keep coming back to it and probably always will! It’s very different to the MIB of the movies – much creepier and weirder.

Q) Have you always “believed” or has there been an episode in your life you couldn’t explain?

A) Well, I try not to get caught up in belief systems too much. I try and work on facts and evidence. But, yes I have had some weird experiences over the years. I have had a lot of very strange synchronicities. I also had a very strange experiences with a ghostly pet back in 2003, Charity the Sharpei, who was a great friend and still missed.

Q) What is the most disturbing aspect of UFO phenomenon? The most hilarious?

A) The most sinister aspect, as I see it, is when people get manipulated by the phenomenon and it can have a big, adverse effect on them. I think there is a dark side to the phenomenon that manipulates people deliberately and it can cause a lot of havoc. Some of the most hilarious stories are those from the 1950s, the era of the Contactees. One of them, Truman Bethurum, told of meeting an alien woman named Aura Rhanes. He described her as being “tops in shapeliness and beauty!” There are lots of wacky stories like that!

Q) Do you think we’ll ever find out what happened at the most famous of sites/crashes?

A) It’s hard to say. Roswell is the most famous crash case and, even with the 70th anniversary now looming on the horizon, we still don’t really know what happened. And no files have ever surfaced. So, it’s very difficult to know for sure what happened. I’m not sure with Roswell if we will ever get the proof of what happened. It may be in lock-down mode forever.

Q) If you could stand at any moment during all we know of the history of ufo sightings, what moment would you want to see?

A) I would go back to the Foster Ranch, Lincoln County, New Mexico in early July 1947. That was when and where the Roswell craft came down. Ideally, I would be right there as it slammed into the ground and I would know what really took place.

Q) If I saw a UFO, I’d run. Is that the correct response? (I’m thinking, “never run from a lion, they’ll think you’re prey” here…)

A)I think the ideal thing to do is stay there and take it all in. But, some people are definitely traumatized by UFO encounters, and it’s hard to predict how people might respond when faced with a UFO.

Q) What’s the scariest place you’ve ever been? I was afraid of the monster on the Mekong in your book. Whoa that thing scared me.

A) I don’t really get frightened on expeditions, etc. For me, it’s more of an Adrenalin rush. I have had a lot of good times on Puerto Rico searching for the Chupacabra. The island’s El Yunque rain-forest is a mysterious and cool place!

We have a special promotion to celebration Nick’s work, the perfect “big picture” UFO, monster-hunting, crop circle whirling tour-de-force through every day of the year through history:  365 Days of UFOs by Nick Redfern.

#Cliches are not good, but… #writing

 

www.LisaHaganBooks.com

from Keep It Short by Charles Euchner

#CLICHES

To give clichés life—to make them fresh and original again— find something surprising to add to them.

Too often, we use familiar ideas without really under- standing their meaning. We repeat phrases and ideas carelessly.

When we overuse expressions, we live in a fool’s paradise. We cannot hold a candle to the halcyon days, our salad days, when we suited the action to the word and revealed the naked truth. But we give short shrift to language, writing with neither rhyme nor reason. And we lose such stuff as dreams were made of, at’s neither here nor there, since these expressions are dead as a doornail. Coming full circle, we realize, more in sorrow than anger, and it’s a foregone conclusion that overuse of such terms is a fatal vision. So, in one fell swoop, we throw cold water on it.

All of those expressions come from Shakespeare. ese expressions once expressed ideas with freshness and originality. But used over and over, they have lost their vitality. Too o en, we use these clichés not because they express ideas well, but because they o er a simple way to say something. ey let us say something without thinking.

Remember you want to make the reader see, feel, helpless, harmless. Milo’s dead.” By using the slack, disinterested tone of a gumshoe, Lynch moves us away from sickly sentimentality.

 

Samuel Beckett uses clichés in playful ways to make them fresh. He writes: “Personally I have no bone to pick with graveyards.” And then, describing the odor of graveyards, he added that he will breathe in the smell of corpses “when take the air I must.” In her memoir of family suicide, Joan Wickersham freshens a stale image: “Cal may have had pots of family money, but my husband didn’t even have a small saucepan.”

Whenever possible, though, avoid clichés. Lush detail—observation of sights, sounds, smells—helps to create original expressions.

Nack could just say, “I thought about that horse day and night. I couldn’t get Secretariat out of my mind. It popped up no matter where I was or what I was doing” Zzzzzz. Instead, Nack uses compelling images to show how Secretariat shaped every minute of his life.

Write like Bill Nack. Always look for the fresh images—ideas that are familiar, but which other writers have not used before—to help the reader experience the scene –

smell, taste, touch, imagine—and think of more familiar the images, the less you will engage your reader.

“Cliches,” Geoffrey Hill notes, “invite you not to think.” Cliches give use easy, lazy was of expressing our- selves. As Hill notes, “you may always decline the invitation.” When you feel tempted to use a cliché, stop. Get in the habit of considering how to state a point simply—or think of a fresh, original way of making a point.

To avoid the dreariness of clichés, play with them. Start by looking at its literal meaning. Porter Abbott explains:

When the orator urges his or her auditors “to strike while the iron is hot,” how many of them see the sweating blacksmith at his forge and feel his magical transmutation into new meaning? The answer is none. But when one tramp suggests to another that “it might be better to strike the iron before it freezes” the original vehicle is revived in its literal state.

Taking words literally reveals the cliché’s original insight. When you do a genealogy of clichés, you discover vibrant images that can be revived.

When you change the context of cliché, you can give it new life. In a memoir of his life as an undertaker, Tomas Lynch writes about the death of a neighbor: “Milo is dead. X’s on his eyes, lights out, curtains.”

 

For more details on Keep It Short, click on the title.

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2 Dishes, 1 Holiday Evening

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/Beth Wareham
@Giantsweettart
@shadowteams

This little table before the fire looks perfect for a one-two punch of French-inspired food and drink that is as easy as it is sophisticated and delicious. Buy a baguette to eat along with the soup. Here goes:

Leek and Potato Soup

4 Leeks, wash and clean well, slice thinly, the white part and a bit of green

3 tablespoons unsalted butter

2 sprigs thyme

1 bay leaf

Salt to taste

1 pound yellow potatoes, peeled, quartered and sliced thin

6 cups water

1/2 cup heavy cream

  1. Melt the butter over medium heat in a heavy bottomed pot.
  2. Add the leeks and thyme, bay leaf and salt. Stir to mix.
  3. Add the potatoes and cook for 4 – 5 minutes, stirring often.
  4. Add the water and bring to a boil. Simmer for 25 minutes or until potatoes are fork tender.
  5. Stir in cream and salt and pepper to taste.
  6. Remove thyme and bay leaf and ladle into warm bowls. Garnish with a little more thyme or some crumbled bacon, if you’d like.

From Snapshots: Memories and Recipes by Sandra Martin (click on title to buy)

51lszmodbkl-_sx326_bo1204203200_  TO DRINK???????? Something French, of course!

FRENCH 75

A classic drink, this takes its name from the French 75mm artillery – since drinking it makes you feel you are in the line of fire. One might be enough.

  1. 1 oz gin
  2. .5 oz fresh lemon juice
  3. 2 oz Champagne or Prosecco

Fill a cocktail shaker with ice. Add the gin and lemon juice (some people like a dash of simple syrup as well, but we advise against this, since sparkling wine is sugary in itself). Shake vigorously for at least 30 seconds, then strain into a coupe or a flute. Top the drink with Champagne and garnish with a lemon twist. So very French. So very good.

From Drink Like a Grown-Up by The League of Extraordinary Drinkers (click on title to buy)

 

Drink Like a Grown Up Cover.indd

How to Write a Paragraph: 3 Essentials

th/bethwareham

Last night, I was editing. Not so exciting in itself except I was wearing a torn nightgown and eating Skittles. I got so tangled up in the paragraph of this manuscript, I cried out in anger and pain, pulling at my nightgown and sad I’d eaten all the candy.

So, let’s start at the very beginning, a very good place to start….

A paragraph is a building block of a book. Within that paragraph, there are three building blooms that make it a paragraph. Or at least an intelligible paragraph. If you practice, greatness comes.

  1. S.V.O. –  This is your sentence, baby: subject, verb, object. Never forget it and it will never let you down.

Let’s write our first sentence for the paragraph together:

Beth shot her husband.

Our subject is “Beth”, our verb is “shot” and our object is “her husband.”

2.  The remaining sentences in the paragraph are about the same subject as the first     sentence of the paragraph:

Beth shot her husband. The blast threw him back against the white wall in front of her desk. The gun’s roar wouldn’t leave her ears as she crossed the room. She leaned in. He was dead. The ringing stopped and her eyes traveled back up the wall. His blood left a wild dynamic spray.

3. The last sentence winds up the paragraph and sets up the next paragraph:

Beth shot her husband. The blast threw him back against the white wall in front of her desk. The gun’s roar wouldn’t leave her ears as she crossed the room. She leaned in. He was dead. The ringing stopped and her eyes traveled back up the wall. His blood left a wild dynamic spray. Finally, she thought, I got my Pollack. 

Now, you’re set up to write the next paragraph and the one after that and the one after that and the one after that and the after…..

And finally, you’ll have a book!

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Forging Sound into Words

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THROUGH THE LOOKING GLASS:

An Interview with Bernard Holland

After almost 30 years as music critic of The New York Times, Bernard Holland weighs in on everything from Cosima Wagner’s diaries to Springsteen and the overuse of the meaningless word “great.”

Enjoy.

 

Q. You rarely go to concerts or operas. Does this mean you are tired of music?

A: I’m not tired of music. I’m tired of the music world. In retirement I see classical music from the outside and not as a practitioner. It looks pretty artificial from out here. I’m tired of audiences bullied into ritual obedience  – sit in the dark and shut up; don’t make noise unless I say so; Music up on a stage. Listeners sitting in the dark terrified of coughing, foot shuffling or program rattling; musicians dressed up like waiters.

I have no idea how to fix this.I just went to a friend’s recital and heard five Schubert songs. They were so beautiful I nearly cried..

Q: Do you read about music? Do you keep up with what’s going on?

A: To a degree. Writing coherently about music is rare; I like to see how others do it these days. The doings of the Geffens, or music directors on the move or backstage backstabbing at the Met doesn’t get me going anymore. I pick up Cosima Wagner’s diaries every few years. Fascinating. I may actually finish this winter.

Q: What are you listening to?.

A: Not a lot. Having music going on in the background all day would drive me nuts. You listen or you don’t. I do more at our summer house in Canada . I like CBC2 radio in the car. At night I shuffle through odd piles of cds. Lots of Linda Ronstadt (purest voice I ever heard), Frank Sinatra (I am in awe), Little Richard (amazing for about 10 minutes), and then Haydn string quartets, Schubert piano sonatas. I always go back to Haydn’s Seven Last Words of Christ, Stravinsky’s Symphony of Psalms and Steve Reich’s Music for 18 Musicians. I like Shirley Horn depending on how much scotch I’ve had. There’s nothing quite as beautiful as the mourning doves in our East Village garden.

Q: What are you reading?

A: Just finished, the new George W. Bush bio, some Balzac and Teffi negotiating the new Soviet order. Next Ian McEwan’s “Nutshell”, Joe Lelyveld’s Roosevelt book, Robert Gottlieb on editing, and especially the new Bruce Springsteen. I don’t expect it to be like Keith Richards’ “Life” (the first chapter of which is among the funniest things I have ever read.) Richards is the sardonic observer. Springsteen is the guts and the nerve endings of a culture. Much to do.

Q: Who are the greatest composers?

A: Someone told me recently about a colleague who is writing a book on what makes great music great. Posited, I assume, is a greatness gene, some rare chemical compound that separates the Fortnum and Masons of music from all the Ralph’s Pretty Good Grocery Stores of Garrison Keillor fame.

It’s a fool’s errand. “Great” is another one of those aerated buzzwords that float beloved into the stratosphere and mean nothing.“Great” seems to invoke size (lots off people like It) and durability (they like it for a long time).

I remember sitting in the Beverly Hills kitchen of a friend and denigrating Arnold Schoenberg’s limited appeal for later generations to Leonard Stein, who was Schoenberg’s longtime assistant and advocate. My argument: history says Schoenberg is great but very few people listen to him. Stein: that Schoenberg deeply moves only a small number of people in no way minimizes his worth or status.

Leonard Stein is right. I am wrong. Technology makes me even wronger. The number of seats filled at Carnegie Hall is not the measure it used to be. The hierarchies of “greatness” are now many and hand-held. We are not one audience agreeing on what is great. We are millions of play lists, each with its own decider.

To order Something I Heard41kVN8IFMML._AC_US160_.jpg

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Why Noah Hawley is the Guy

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Noah Hawley is the ultimate in creative cool and Before the Fall proves it. (Click on the title to order: Noah needs a little more dough.)  He is a polymath of form, creating Fargo the television show for FX.  He’ll also produce and write the pilot of FX’s Legion, based on the Marvel comic character. He signed a deal with Universal for a film in their monster series and will write the screenplay for Before the Fall for Sony.  He’s about to direct a film by a first-time screenwriter. Noah is a busy dude.

Before Before the Fall, however, Mr Hawley published four books with four different publishers. Why, I can’t imagine. If I got my hands on a writer with the Porsche engine of Noah Hawley, I would have never let him go.  (As an editor, sillies.) I don’t know what the history with those 4 books and those 4 publishers was, but I doubt it was that great. Writers stay where they are supported. They move on if they are not.

But his publishing past is moot. What Noah did was extraordinary, a gift I’d been waiting for, praying would happen. Noah fused the wild velocity and back and forth time travel of the best of on-demand storytelling.  He surprised at every corner, keeping you endlessly off balance (kinda like the world).  He even turns his ending on end: It’s the petty and mundane that kills in the end.

Noah Hawley is the guy. The velocity of his writing is spectacular and all I can think about is,  When will Fargo start up again? When is Noah publishing his next book? Can I see his directorial debut yet? 

Velocity.  My company – www.LisaHaganBooks.com – has some. It’s not Noah Hawley, but it’s fast. Try some of it out sometime:  Hair Club Burning   The Gringo Maniac Murder Spree   Women in Black

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